Digilog Bamboo: Interactive Ink-and

Online Journal of Art and Design
volume 3, issue 2, 2015
Digilog Bamboo: Interactive Ink-and-Wash Painting Project
Youngmi Kim
Service Design Institute Lab, Sungkyunkwan University, South Korea
[email protected]
ABSTRACT
This study is in the form of digilog [1] that synthesizes analogue sentiment and digital
technology, which reinterprets the Four Gracious Plants in modern context. Interactive
Ink-and-Wash Painting Project aims to enable audience to communicate with the work
through synesthesia by expressing the four paintings of the Four Gracious Plants in
interactive art. “Digilog Bamboo”, which is a part of the painting project, is “performance
interactive art” that paints bamboo with breath using Daegeum, a traditional Korean
musical instrument. [2] This study embodies spiritual value of bamboo in the East
through digital technology, and encourages cultural communication with the world across
space and time.
Keywords: Cultural technology, digilog Bamboo, interactive ink-and-wash painting,
Interactive media art, and interactive performance
1 INTRODUCTION
Tradition is the basis or the drive for enriching present and future’s cultural creation, and
serves as the foundation for establishing direction of development of modern society and
future culture. Today’s culture is re-created with the digital power, and as a result,
enables communication with the world. Consequently, there is a need for the original
oriental painting not to boast its beauty in the form of history, but to be reinterpreted
and appreciated in modern context. By digitally reconstituting the spiritual and aesthetic
values of the ink-and-wash Four Gracious Plants (Confucianism is an East Asian ideology
originating in China with Confucius as its founder, which establishes benevolence as the
highest ideal to rule over all ethics), analogue sentiment and digital technology
adequately blended to be produced as interactive art work [3]. This is expected to
represent value of traditional culture and emotionally communicate the past and present
to modern people through interactive art.
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2 FOUR GRACIOUS PLANTS: THE BAMBOO
There is no doubt that the idea of ink-and-wash painting or its history has the absolute
place in oriental art history. Ink-and-wash painting connotes high level mental ideality
with philosophical root and period background. Four Gracious Plants (Ancestors
discovered the aspect of noble man in the inherent properties of the four plants (plum
blossoms, chrysanthemum, orchid, and bamboo), and expressed the virtue of noble man
through those properties) shown in Fig. 1 is representative of oriental philosophy and
mentality, and it required the painter to reach a certain state of mind or character. In
other words, the reason why a noble man of virtue used the Four Gracious Plants as
subject of painting was that noble man considered those plants as the subject of himself
[4].
Fig. 1. The Four Gracious Plants traditionally portrayed in ink-and-wash painting(From the
left plum blossoms, Orchid, chrysanthemum, and Bamboo), by Sehwang Kang.
Bamboo, amongst the four plants, indwells mental value in its upright nodes and green
leaves, which represented clean mind and principles. In Confucian perspective, bamboo’s
root(spirit) symbolizes strength, inside of stem(mind), emptiness, and nodes(body),
uprightness. Thus, even today, it cannot be overlooked that as noble men are known to
have emptied their mind to accomplish their goals and setting their body straight to
cultivate virtue, when their mind and spirit were disturbed [3], they always tried to
regain calmness by painting, keeping in mind the symbolism of bamboo that stretches
towards sky at all times amidst fierce winds. Hence, this study turns to digital technology
to seek ways to communicate bamboo paintings with high spiritual value to modern
people.
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3 DIGILOG BAMBOO: INTERACTIVE INK-AND-WASH PAINTING PROJECT
3.1 Digilog Bamboo: Picture
The work “Digilog Bamboo (Digilog discussed by Korean humanist O-Young Lee refers to
the term that integrates digital and analog. It was presented as a way to enhance
competence of digital era by expressing analog sentiments through digital technology)”
presented by in this study is an interactive artwork in which a performer plays Daegeum
to create a painting. “PoongJookDo (wind-bamboo drawing, in the _rst half of 17th
century)” of aristocrat artist, Jung Lee, that established stylistic tradition of bamboo
paintings of Chosun era was used as reference for this painting [5]. This painting has
high cultural value as it is even drawn at the back of 50,000 Korean won bill.
Fig. 2. PoongJookDo, by Jung Lee
3.2 Digilog Bamboo: Interface
Daegum (Writers mastered Daegeum along with writing and painting, and it is a healing
instrument that is usually played for cultivation of mind, which is very much like the
purpose of painting the Four Gracious Plants), a traditional musical instrument is used as
interface to represent spirit of scholar and formative elements of pens, paper, and ink [4].
This work was designed to for the user to blow in energy through breathing with proper
attitude and spirit for Daegeum, instead of actually playing Daegeum, for everyone to
easily operate the work. Thus, audience does not need to exert considerable effort to
play Daegeum, but instead simply breathe into it (This method was designed for the
audience to prevent any trial and error or access error that damages the nature of
interaction. Only optimal technology was used to fit the concept of the work).
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As this breathing responds to yin and yang of energy and mind form is exposed in virtual
space, light and shade of ink is determined by the strength of energy [6]. Because length
of nodes, bamboo blades, and light and shade of ink change by length and strength of
breath, each user creates different final painting.
Fig. 3. Traditional musical instrument: Daegeum
In one breath, a node is formed, and then another breath creates bamboo blade. Usually,
5-7 nodes are drawn, and 3-5 groups of bamboo blades are drawn.
Sounds were extracted from “DaegeumSanjo” musical program and made into 30
different sound tracks to be played as Daegeum sounds. When bamboo tree is generated
on the screen, Daegeum sound tracks are randomly played.
3.3 Digilog Bamboo: Skill
Technical device used in this work is relatively simple. Miniature microphone built in
Daegeum receives the strength of breath, which the computer uses to determine light
and shade of ink. In order to create a bamboo tree with consistent light and shade,
performer must sustain consistent breathing, and by doing so, he finds calmness in mind
and body. Also, as the length of breath determines the length of nodes, consistent
breathing creates straight and uniform bamboo tree.
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Fig. 4. Performer must sustain consistent breathing
The above process was programmed with Adobe Flash Action Script, and controller was
structured to enable easy access of users considering all market environments [6].
“Microphone Level” and “Blow Accumulation” are the main components of graphic
controller, and “Processed Brush Power”, “Sensitivity”, and “Debug” are the additional
components.
“Microphone Level” controls the sensitivity of microphone, and “Blow Accumulation”
accumulates breaths. Once the accumulation exceeds the value set for the strength of
breathing, Daegeum soundtrack plays in the background as graphics is generated on the
screen. “Gauge bar” fills up in gray as much as the accumulation.
“Processed Brush Power”, a submenu, refers to the concentration of ink, and as strength
of breathing reaches 110, the ink becomes more concentrated. “Sensitivity” controls the
speed of output [7]. “Debug” tests reaction speed of breathing with input virtual tree
after all the above menus are set. The figure shows the product of “Digilog Bamboo”
shows two trees in one screen.
4 EXHIBITION AND FUTURE WORK
“Digilog Bamboo” was produced for exhibition in the West. It was intended to provide
opportunity for sharing and communicating East and West culture and spread Korean
culture through experience. Thus, numerous exhibitions in the West (The works were
presented
in
Spain(2009),
Greece(2009),
U.S.A.(2010),
Japan(2009),
and
Malaysia(2011)) and international thesis presentation can be seen as disproof of the
achievement of this goal. Moreover, technical modernization of oriental painting received
award for excellence in International Arts Festival of Castilla y Leon (2009. 06) hosted in
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volume 3, issue 2, 2015
Spain, proving that it is ready communicate with the world. In other words, in line with
the concept of this work, opportunity was presented for art of the East to be shared with
the world through scientific technology.
If 20th century focused on “more” and “faster”, 21st century is directed towards humancentered value, “emotional empathy” and “communication” in cutting edge digital
technology civilization. Digital technology is truly meaningful when integrated with
analogue sentiment to create something new, and in the process, new light is shed on
the value of traditional culture [8].
Interactive Ink-and-Wash Painting Project currently produced bamboo and orchid.
Chrysanthemum and plum blossoms that contain meaning in their flowers are the future
research topic, and once the research is complete, the 4 paintings will be produced in
one space.
REFERENCES
Byeong-Sick Choi. (2008). Thought & History of Ink Painting, Dongmoonsun, p.83-88,
Korea.
Byeong-Sick Choi. (2008). Thought & History of Ink Painting, Dongmoonsun, p.23, South
Korea.
O-Ryoung Lee. (2006). Digilog, Tree of think, South Korea.
Y-M. Kim and J-S. Choi. (2009). Bamboo flute, ACE 2009, 29-30 October.
Y-M. Kim and J-S. Choi. (2009). The Sound Brush Made of Bamboo, Smart Graphics,
LNCS, vol.5531, p.279-282. Springer, Heidelberg.
Y-M. Kim and J-S. Choi. (2010). Interactive Ink-and-Wash Drawing, 11th International
Conference Entertainment Computing, LNCS, vol.6972, p.383-385, Springer:
Heidelberg.
Y-M. Kim. (2014). Study of Interactive Media Art Utilizing Embodiment of Synesthesia:
Focusing on Ink-and-wash Painting of Bamboo and Orchid, Chang-Ang University,
South Korea.
Young-Mi Kim and Jong-Soo Choi. (2010). Breathe Brush, SIGGRAPH 2010, Los Angeles,
25-29 July.
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